The previews for "Turistas" make it look like a suspenseful film full of beautiful (and scantily clad) young women accompanied by toned (and muscled) young men who innocently fall victim to crazed killers who torture lost tourists. Instead, "Turistas" is a rather predictable film about stupid (albeit attractive) tourists who wander into bad situations and get what's coming to them.
A group of tourists - including American siblings Alex (Josh Duhamel) and Bea (Olivia Wilde), Australian loner Pru (Melissa George) and confused Brits Liam (Max Brown) and Finn (Desmond Askew) - are taking a bus through Brazil, which is driven by a man who seems to have learned to drive by playing American video games. When the bus crashes (like we couldn't see this coming a few seconds into the film), the group is told that another bus will be along in 10 hours.
With the promise of a bar on the beach a short hike away, the English-speaking tourists leave the larger group in search of alcohol and fun. Unfortunately, they soon find the bar has a "come for the drinks, stay for the organ harvesting" policy. Rather than doing anything logical or sensible, the group runs from bad situation to worse at every opportunity.
The bad guys, led by Dr. Zamora (Miguel Lunardi), are greedy, angry and disorganized but far smarter than the tourists. Whether you're hoping the tourists will live or just waiting for some gore, it doesn't take long before you're just looking forward to the end of the movie.
Unfortunately, there are extraordinarily long dark and murky scenes (presumably, in an attempt at either realism or suspense but succeeding at neither) badly designed by cinematographer Enrique Chediak. The underwater filming (including chase scenes) by Peter Zuccarini is beautiful the first time, and terribly boring after about five minutes - sadly, it goes on much longer.
Rated R for strong graphic violence and disturbing content, sexuality, nudity, drug use and language, "Turistas" is certainly gory despite failing as a horror film. Perhaps "Turistas" would have at least been shocking if premiered before "Hostel" and the "Saw" films but instead it does more of the same and with less intelligence and less successful social commentary.
Originally published in The Chronicle in December 2006 as JadeLee Culberson
Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts
1.3.11
This week's DVD review: Sherrybaby
Too sappy to be sexy and too flimsy to be dramatic, "Sherrybaby" isn't a bad film - it just isn't particularly good. Writer and director Laurie Collyer took a good idea and did nothing with it in a movie that should be left to collect dust on the shelves of video rental establishments.
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
The Messengers
There's nothing outstanding about directors' Danny Pang and Oxide Pang's "The Messengers," but it succeeds as an inoffensive horror film heavy on the scares while being light on the blood and gore.
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Even Bullock can't save "Premonition"
My intuition tells me those who see director Mennan Yapo's "Premonition" will be disappointed. Of course, I don't have ESP - but I know I left the theatre dissatisfied.
Sandra Bullock is the highlight of this film with an intense performance as Linda, a stay-at-home mom who is horrified to learn of her husband Jim's (Julian McMahon) death - and even more disturbed to realize he's alive again when she wakes up the next day.
Reality begins quickly unraveling around Linda as she spends each out-of-order day (because apparently Friday does not always directly follow Thursday, at least in this film) trying to figure out if her husband is dead or alive, if she is crazy or sane, and why she's constantly interacting with people who claim to know her even though she doesn't remember meeting them.
Her mother, Joanne (played dryly by Kate Nelligan), comes to stay and help take care of Linda's absolutely adorable and sugary-sweet daughters (Shyann McClure and Courtney Taylor Burness) - either because Linda's grieving or going insane, we can never be sure. But, in true meddling-mother form, Joanne seeks "help" for her daughter in the form of creepy psychiatrist Dr. Norman Roth (Peter Stormare) and his prescription pad.
Linda tries to seek comfort from her flighty friend, Annie (Nia Long), whose real purpose in the film seems to be the token minority. Linda also seeks answers from a priest (Matt Moore) who tells her "nature abhors a vacuum" and her lack of belief is the root of her troubles.
Reminiscent of a more depressing "Groundhog Day," "Premonition" offers nothing new or innovative. It's too sappy, too predictable and - despite a decent premise - fails to do any of the interesting things writer Bill Kelly could have done with the script.
McMahon seems ridiculously miscast after his roles in "Fantastic Four" and the television series "Nip/Tuck" and "Charmed." He's not believable as a distant husband climbing the corporate ladder. Perhaps he's too accustomed to playing complicated characters to realize sometimes less is more when playing a fairly basic, straightforward character.
The musical effects by Klaus Badelt, meant to heighten suspense, are so over-the-top they're nearly comical. The ending is hokey at best - I groaned out loud and heard several others in the audience do the same.
Skip "Premonition" - you'll avoid spending time and money on an inferior film.
Originally published in The Chronicle in March 2007 as JadeLee Culberson.
28.2.11
'Employee of the Month' wins with laughs
"Employee of the Month" wants to be "Office Space" for the new generation and doesn't quite make it. It is, however, a hilarious, if unbelievable, screwball comedy for anyone who has ever worked retail. Zack (Dane Cook) is a box-boy who has turned slacking into an art form.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Hunting for a fun family film? Shoot for "Open Season"
"Open Season" is a heartwarming and adorable film. It is not, however, original or thought-provoking. "Open Season" is the tale of a domesticated bear named Boog (Martin Lawrence) led astray by a high-strung, one-antlered deer named Elliot (Ashton Kutcher).
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
'Flushed Away' not just for kids
"Flushed Away" is a refreshing joyride of fun for everyone. Roddy St. James (voiced by Hugh Jackman) is a pampered pet mouse living in London's upscale Kensington neighborhood. When the humans go on vacation, they leave him with plenty of food and has no problem amusing himself with the abounding toys and electronics - that is, until street-rat Sid (Shane Richie) crashes the party. While trying to coerce Sid into taking a "whirlpool bath" in the toilet, Sid gives him a push instead and sends him on a whirlwind adventure.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
'Saw III' slices through unanswered questions
"Saw III" is one of the goriest movies ever released in American theatres. I have been watching horror movies since childhood and have recently reviewed gorefests such as "Saw II" and "Hostel" without turning away from the screen in disgust or terror. While watching "Saw III," however, I covered my eyes to block out the intense gore at least twice during the film and spent several suspense-filled moments peeking through my fingers at the shocking imagery.
If you can get past the gore, "Saw III" has a fascinating plot that ties together loose ends from the first two films. Screenwriters Leigh Whannell and James Wan pick up where "Saw II" left off, with John/Jigsaw (Tobin Bell) near death and his assistant Amanda (Shawnee Smith) helping him set up his next games. Jigsaw's next game is for Jeff (Angus Macfadyen), who has a burning need for vengeance after losing his son to a car accident because of a drunk driver. Jeff must make it through a house of horrors where his own physical encounters are nothing compared to the psychological torture he faces as he sees the other victims in the house.
While Jeff struggles, so does Lynn (Bahar Soomekh), the depressed doctor Amanda has kidnapped to keep Jigsaw alive until Jeff's tests are completed. Lynn must cope with the increasingly unstable Amanda while trying to keep Jigsaw alive by any means necessary - including brain surgery with power tools.
Director Darren Lynn Bousman does a fantastic job of keeping the audience fascinated despite being disgusted, both by the gore and the blatant moral depravity in much of the subject matter. Rated R for strong grisly violence and gore, sequences of terror and torture, nudity and language, "Saw III" is appropriate only for the strongest of constitutions. During opening weekend, I observed parents bringing their young children (who couldn't have been more than eight years old) into the theatre for this film, which was completely irresponsible and reprehensible. Trust me, the cost of a babysitter for an evening is much less than the cost of therapy years later.
For those who have enjoyed the "Saw" films, "Saw III" will reward your patience with (almost all) the answers you're waiting for by the end of this brilliantly written film. Just remember to skip the concession line on your way in.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
If you can get past the gore, "Saw III" has a fascinating plot that ties together loose ends from the first two films. Screenwriters Leigh Whannell and James Wan pick up where "Saw II" left off, with John/Jigsaw (Tobin Bell) near death and his assistant Amanda (Shawnee Smith) helping him set up his next games. Jigsaw's next game is for Jeff (Angus Macfadyen), who has a burning need for vengeance after losing his son to a car accident because of a drunk driver. Jeff must make it through a house of horrors where his own physical encounters are nothing compared to the psychological torture he faces as he sees the other victims in the house.
While Jeff struggles, so does Lynn (Bahar Soomekh), the depressed doctor Amanda has kidnapped to keep Jigsaw alive until Jeff's tests are completed. Lynn must cope with the increasingly unstable Amanda while trying to keep Jigsaw alive by any means necessary - including brain surgery with power tools.
Director Darren Lynn Bousman does a fantastic job of keeping the audience fascinated despite being disgusted, both by the gore and the blatant moral depravity in much of the subject matter. Rated R for strong grisly violence and gore, sequences of terror and torture, nudity and language, "Saw III" is appropriate only for the strongest of constitutions. During opening weekend, I observed parents bringing their young children (who couldn't have been more than eight years old) into the theatre for this film, which was completely irresponsible and reprehensible. Trust me, the cost of a babysitter for an evening is much less than the cost of therapy years later.
For those who have enjoyed the "Saw" films, "Saw III" will reward your patience with (almost all) the answers you're waiting for by the end of this brilliantly written film. Just remember to skip the concession line on your way in.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
Ferrell, Hoffman deliver in "Stranger than Fiction"
I discovered two things during "Stranger than Fiction" - Will Ferrell can do drama, and literary theory can be successfully discussed in a Hollywood film.
Warm, sentimental, and absolutely captivating, "Stranger than Fiction" manages both comedy and drama without becoming hokey or (too) predictable. Harold Crick (Ferrell) is a slightly obsessive-compulsive but an otherwise terribly mundane IRS auditor. However, Harold's routine is suddenly and completely disturbed one Wednesday as he begins to hear a woman's voice narrate his life "accurately, and with a better vocabulary." That voice belongs to Kay Eiffel (Emma Thompson), an eccentric and somewhat disorganized author suffering from both writer's block and the new, unwanted, assistant, Penny (Queen Latifah) her publisher sent to her office to assure that Kay's new book is completed.
Unfortunately for Harold, Harold has never heard of Kay and she believes Harold exists only in her story. Even worse for Harold, Eiffel intends to kill the character she's writing about. In search of answers, Harold sees a therapist (Linda Hunt) who suggests he may be schizophrenic but eventually refers him to a literary expert. It is only after Professor Jules Hilbert (Dustin Hoffman) finds out about a key phrase in the narration that he takes Harold seriously, at which point he recommends Harold figure out whether he is in a comedy or a tragedy in order to determine how likely he is to actually be killed. This is further complicated, of course, by an eccentric baker named Ana (Maggie Gyllenhaal), who Harold is currently auditing.
The acting in this film is fantastic. Ferrell and Gyllenhaal have remarkable chemistry, Hoffman shines in an unlikely role and Thompson plays Eiffel as such as brilliant train wreck that we often worry about her safety as much as Harold's. "Stranger than Fiction" manages to avoid too much of the annoying overt "life is short, live it to the fullest" message by contemplating the situations in which Harold finds himself as well taking an interesting approach to the "predestined fate versus free-will" argument.
This film is rated PG-13 for some disturbing images, sexuality, brief language and nudity, but its contemplative nature will have appeal little to the younger crowd anyway. Director Marc Forster's "Stranger than Fiction" is unexpectedly thoughtful and powerful, leaving audiences with something to talk about for hours over coffee or drinks, unlike most films this holiday season.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Warm, sentimental, and absolutely captivating, "Stranger than Fiction" manages both comedy and drama without becoming hokey or (too) predictable. Harold Crick (Ferrell) is a slightly obsessive-compulsive but an otherwise terribly mundane IRS auditor. However, Harold's routine is suddenly and completely disturbed one Wednesday as he begins to hear a woman's voice narrate his life "accurately, and with a better vocabulary." That voice belongs to Kay Eiffel (Emma Thompson), an eccentric and somewhat disorganized author suffering from both writer's block and the new, unwanted, assistant, Penny (Queen Latifah) her publisher sent to her office to assure that Kay's new book is completed.
Unfortunately for Harold, Harold has never heard of Kay and she believes Harold exists only in her story. Even worse for Harold, Eiffel intends to kill the character she's writing about. In search of answers, Harold sees a therapist (Linda Hunt) who suggests he may be schizophrenic but eventually refers him to a literary expert. It is only after Professor Jules Hilbert (Dustin Hoffman) finds out about a key phrase in the narration that he takes Harold seriously, at which point he recommends Harold figure out whether he is in a comedy or a tragedy in order to determine how likely he is to actually be killed. This is further complicated, of course, by an eccentric baker named Ana (Maggie Gyllenhaal), who Harold is currently auditing.
The acting in this film is fantastic. Ferrell and Gyllenhaal have remarkable chemistry, Hoffman shines in an unlikely role and Thompson plays Eiffel as such as brilliant train wreck that we often worry about her safety as much as Harold's. "Stranger than Fiction" manages to avoid too much of the annoying overt "life is short, live it to the fullest" message by contemplating the situations in which Harold finds himself as well taking an interesting approach to the "predestined fate versus free-will" argument.
This film is rated PG-13 for some disturbing images, sexuality, brief language and nudity, but its contemplative nature will have appeal little to the younger crowd anyway. Director Marc Forster's "Stranger than Fiction" is unexpectedly thoughtful and powerful, leaving audiences with something to talk about for hours over coffee or drinks, unlike most films this holiday season.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Ditch 'School for Scoundrels'
"School for Scoundrels" is "Hitch" meets "Napoleon Dynamite" - a sort-of-romantic comedy that tries too hard and comes off as too unbelievable to provide more than a handful of cheap laughs. Roger (John Heder) is a New York meter maid with chronic panic attacks and a large collection of self-help books. He has a crush on his beautiful grad student neighbor, Amanda (Jacinda Barrett), but can't talk to her without being mocked by her snobby roommate (Sarah Silverman).
Roger's such a loser that he's even rejected by the kids he volunteers to spend time with in the Big Brother program. After being rejected by the third kid in a row, he seeks advice from a friend, Ian (David Cross), about how to be less of an overall loser. Ian offers Roger the phone number to a confidence-building class that helped him go from being a total loser to being able to find dates on the simple luck that he looks a bit like the singer Moby.
Suddenly, Roger finds himself taking a course on how to become a lion under the tutelage of the abusive and greasy "Dr. P." (Billy Bob Thornton) and his violent and anally fixated assistant, Lesher (Michael Clark Duncan). Dr. P. seems to be trying as hard to teach the class full of wishy-washy guys to be liars as lions. One of his predominant pieces of advice for the class is "lie, lie and lie some more." Roger begins to rise to the head of the class when the men head out for a hilarious paintball battle and he stands victorious over Lesher.
Unfortunately, as Ian warns Roger too late, Dr. P. is competitive against his top students. Just as things are starting to look up for Roger, including a dinner-date with Amanda, Dr. P. pulls out all the stops in a competition that includes everything from a violent tennis match to a spray-painted dog. If the stunts weren't so over-the-top and unbelievable, they'd be much funnier.
Director, producer, and writer Todd Phillips took things just a bit too far, which is unfortunate because the overall idea is entertaining. Thornton and Heder have great chemistry - but neither were really the right choice for the individual parts. Thornton is too stiff as Heder is too "Napoleon Dynamite." Ben Stiller provides a few laughs in an interesting role, but he doesn't come close to saving the film.
While "School for Scoundrels" might make a decent weekend rental in the snowy winter months, it isn't worth the trip to the theatre (even for a matinee). Personally, I'd be more interested to try and find the 1960 British film of the same title, which might have a chance of being funnier and more plausible.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Roger's such a loser that he's even rejected by the kids he volunteers to spend time with in the Big Brother program. After being rejected by the third kid in a row, he seeks advice from a friend, Ian (David Cross), about how to be less of an overall loser. Ian offers Roger the phone number to a confidence-building class that helped him go from being a total loser to being able to find dates on the simple luck that he looks a bit like the singer Moby.
Suddenly, Roger finds himself taking a course on how to become a lion under the tutelage of the abusive and greasy "Dr. P." (Billy Bob Thornton) and his violent and anally fixated assistant, Lesher (Michael Clark Duncan). Dr. P. seems to be trying as hard to teach the class full of wishy-washy guys to be liars as lions. One of his predominant pieces of advice for the class is "lie, lie and lie some more." Roger begins to rise to the head of the class when the men head out for a hilarious paintball battle and he stands victorious over Lesher.
Unfortunately, as Ian warns Roger too late, Dr. P. is competitive against his top students. Just as things are starting to look up for Roger, including a dinner-date with Amanda, Dr. P. pulls out all the stops in a competition that includes everything from a violent tennis match to a spray-painted dog. If the stunts weren't so over-the-top and unbelievable, they'd be much funnier.
Director, producer, and writer Todd Phillips took things just a bit too far, which is unfortunate because the overall idea is entertaining. Thornton and Heder have great chemistry - but neither were really the right choice for the individual parts. Thornton is too stiff as Heder is too "Napoleon Dynamite." Ben Stiller provides a few laughs in an interesting role, but he doesn't come close to saving the film.
While "School for Scoundrels" might make a decent weekend rental in the snowy winter months, it isn't worth the trip to the theatre (even for a matinee). Personally, I'd be more interested to try and find the 1960 British film of the same title, which might have a chance of being funnier and more plausible.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Hold a 'grudge' against Grudge 2
Director of the original Japanese version of "The Grudge," as well as this English-language remake, Takashi Shimizu could have done something interesting instead of doing more of the same. We already know that those exposed to the curse of fatally abused wife Kayako (Takako Fuji) are mentally tortured before being killed. "The Grudge 2" just shows us that the curse can travel outside Tokyo - and Japan, for that matter.
Shimizu gives us three vignettes that are intertwined with little cohesion. Sarah Michelle Gellar returns for a brief cameo as Karen Davis, an international college student hospitalized in Tokyo after trying to burn down the house where the curse originated. Karen's ailing mother (Joanna Cassidy) gets the call that her daughter has been in an accident and books a flight for Karen's estranged sister, Aubrey (Amber Tamblyn). In Tokyo, Aubrey meets a journalist named Eason (Edison Chen) seeking answers of his own.
Also in Japan (but apparently nowhere near Aubrey), Allison (Arielle Kebbel) is an international high school student eager to make friends with the cool girls. Unfortunately for Allison (and those around her), she learns just how real the curse is after being dared to enter the cursed house by two classmates.
Meanwhile, in Chicago, where the curse has spread to an apartment building, Trish (Jennifer Beals) has just moved in with her fiancé and his two children. The young, angst-ridden, and overly curious Jake (Matthew Knight) is the first to realize that something is amiss in his neighbors' apartment and is possibly the most likeable character in the film.
Despite the fact that "The Grudge 2" may be the first film to show a possessed teenager drinking mass amounts of milk and purging it back into the half gallon, it provides nothing fascinating or shocking. With so many promising films being released around this Halloween, there is no reason to see "The Grudge 2." Rated PG-13 for mature thematic material, disturbing images/terror/violence, and some sexuality, it doesn't matter that "The Grudge 2" is accessible to teens - they won't enjoy it anyway.
"The Grudge 2" lacks creepiness and suspense, supplying instead a plethora of unfulfilling in-your-face money-shot scares. I felt like, at best, the film spent most of its nearly 90 minutes vaguely teasing my mind only to leave me without a satisfying climax or any fond memories.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson
Shimizu gives us three vignettes that are intertwined with little cohesion. Sarah Michelle Gellar returns for a brief cameo as Karen Davis, an international college student hospitalized in Tokyo after trying to burn down the house where the curse originated. Karen's ailing mother (Joanna Cassidy) gets the call that her daughter has been in an accident and books a flight for Karen's estranged sister, Aubrey (Amber Tamblyn). In Tokyo, Aubrey meets a journalist named Eason (Edison Chen) seeking answers of his own.
Also in Japan (but apparently nowhere near Aubrey), Allison (Arielle Kebbel) is an international high school student eager to make friends with the cool girls. Unfortunately for Allison (and those around her), she learns just how real the curse is after being dared to enter the cursed house by two classmates.
Meanwhile, in Chicago, where the curse has spread to an apartment building, Trish (Jennifer Beals) has just moved in with her fiancé and his two children. The young, angst-ridden, and overly curious Jake (Matthew Knight) is the first to realize that something is amiss in his neighbors' apartment and is possibly the most likeable character in the film.
Despite the fact that "The Grudge 2" may be the first film to show a possessed teenager drinking mass amounts of milk and purging it back into the half gallon, it provides nothing fascinating or shocking. With so many promising films being released around this Halloween, there is no reason to see "The Grudge 2." Rated PG-13 for mature thematic material, disturbing images/terror/violence, and some sexuality, it doesn't matter that "The Grudge 2" is accessible to teens - they won't enjoy it anyway.
"The Grudge 2" lacks creepiness and suspense, supplying instead a plethora of unfulfilling in-your-face money-shot scares. I felt like, at best, the film spent most of its nearly 90 minutes vaguely teasing my mind only to leave me without a satisfying climax or any fond memories.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson
Spend a night with Dante and Randall
"Clerks 2" is a beautiful tale of love and friendship, the perfect film for an evening in and a great stocking-stuffer for your favorite Gen-Xer. Available to buy or rent on Nov. 28, "Clerks 2" is funny, heart-warming and delightfully over-the-top.
Kevin Smith's writer-director debut "Clerks" is a charming black-and-white film about the lives and aspirations of Dante Hicks (Brian O'Halloran) and Randal Graves (Jeff Anderson), two twenty-somethings killing time behind the counter at a New Jersey Quick Stop. "Clerks 2" picks up 12 years later, where very little has changed, save for their jobs - after an unfortunate Quick Stop fire, they are flipping burgers at the local Mooby's.
However, Dante is getting ready to move on - and across the country to Florida - with his fiancée, Emma (played by Smith's wife, Jennifer Schwalbach). Meanwhile, Jay (Jason Mewes) and Silent Bob (Smith), recently back from court-assigned drug rehab (perhaps a nod to Mewes' real-life struggles with substance abuse), are still hanging around outside selling marijuana (though now using their own take on religion to resist the urge to smoke it themselves).
As Dante's time in New Jersey draws to a close, he finds saying goodbye is never easy - especially as Randal plans a unique farewell party and Mooby's manager Becky (Rosario Dawson) weighs in with her own opinions on Dante's relationship.
Rated R for pervasive sexual and crude content including aberrant sexuality, strong language, and some drug material, "Clerks 2" is not for young or easily offended audiences. "Clerks 2" is an equal opportunity offender, spewing anti-"Lord of the Rings" and racist comments between poking fun at the obsessively-Christian, token virgin, Mooby's employee Elias (Trevor Fehrman). Still, the offensiveness is part of the charm as Smith returns to his roots and touches the hearts (and funny bones) of Gen-Xers who remember why every man wants a woman who will bring him lasagna at work.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Kevin Smith's writer-director debut "Clerks" is a charming black-and-white film about the lives and aspirations of Dante Hicks (Brian O'Halloran) and Randal Graves (Jeff Anderson), two twenty-somethings killing time behind the counter at a New Jersey Quick Stop. "Clerks 2" picks up 12 years later, where very little has changed, save for their jobs - after an unfortunate Quick Stop fire, they are flipping burgers at the local Mooby's.
However, Dante is getting ready to move on - and across the country to Florida - with his fiancée, Emma (played by Smith's wife, Jennifer Schwalbach). Meanwhile, Jay (Jason Mewes) and Silent Bob (Smith), recently back from court-assigned drug rehab (perhaps a nod to Mewes' real-life struggles with substance abuse), are still hanging around outside selling marijuana (though now using their own take on religion to resist the urge to smoke it themselves).
As Dante's time in New Jersey draws to a close, he finds saying goodbye is never easy - especially as Randal plans a unique farewell party and Mooby's manager Becky (Rosario Dawson) weighs in with her own opinions on Dante's relationship.
Rated R for pervasive sexual and crude content including aberrant sexuality, strong language, and some drug material, "Clerks 2" is not for young or easily offended audiences. "Clerks 2" is an equal opportunity offender, spewing anti-"Lord of the Rings" and racist comments between poking fun at the obsessively-Christian, token virgin, Mooby's employee Elias (Trevor Fehrman). Still, the offensiveness is part of the charm as Smith returns to his roots and touches the hearts (and funny bones) of Gen-Xers who remember why every man wants a woman who will bring him lasagna at work.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Don't spend much on a ride with "The Hitcher"
While not as innovative or gritty as the 1986 original, Dave Meyers' "The Hitcher" is one of the better horror film remakes in recent years. Written by Jake Wade Wall and Eric Bernt, and based on Eric Red's original screenplay, this version of "The Hitcher" adds a new character - our hero, Jim (Zachary Knighton), has a girlfriend, Grace (Sophia Bush).
The film begins with Jim and Grace driving to their spring break destination - and with Grace changing clothes in the car. Before the "cute college couple" can bore audiences to death, however, they are nearly killed by John Ryder (Sean Bean), a hitchhiker they reluctantly pick up in the rain. Since they are in the middle of nowhere and have lost their cell phones (of course) in the struggle with Ryder, their only option is to keep driving to seek assistance. This leads to a series of misadventures in which they discover Ryder is far from done with them and that small-town authorities are extremely suspicious of young strangers.
Meyers' keeps "The Hitcher" suspenseful. The film lacks depth and good acting, but succeeds at keeping the audience in suspense between sessions of death and torture. Knighton is a poor replacement for 1986's C. Thomas Howell and Bush's performance leaves a lot to be desired though her character's concept does not (she manages to approach, if not achieve, empowerment). Bean's performance pales in comparison to Rutger Hauer's in the original, but is respectable nonetheless.
The standout performance of the film goes to Neal McDonough as Lieutenant Esteridge, a hardworking but understanding police officer. Though the soundtrack is fairly predictable but effective, Nine Inch Nails' "Closer" playing loudly during a chase scene captures the urgency and brutality well, and other songs follow suit - capturing feeling and lacking originality, much like the film.
Rated R for profanity and graphic violence, "The Hitcher" is not for the squeamish. There is plenty of blood and gore, but at least no cheesy CGI special effects. "The Hitcher" is definitely not worth the cost of an evening showing at the movie theatre. However, especially for those who have not seen the original, it might be worth a matinee.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
The film begins with Jim and Grace driving to their spring break destination - and with Grace changing clothes in the car. Before the "cute college couple" can bore audiences to death, however, they are nearly killed by John Ryder (Sean Bean), a hitchhiker they reluctantly pick up in the rain. Since they are in the middle of nowhere and have lost their cell phones (of course) in the struggle with Ryder, their only option is to keep driving to seek assistance. This leads to a series of misadventures in which they discover Ryder is far from done with them and that small-town authorities are extremely suspicious of young strangers.
Meyers' keeps "The Hitcher" suspenseful. The film lacks depth and good acting, but succeeds at keeping the audience in suspense between sessions of death and torture. Knighton is a poor replacement for 1986's C. Thomas Howell and Bush's performance leaves a lot to be desired though her character's concept does not (she manages to approach, if not achieve, empowerment). Bean's performance pales in comparison to Rutger Hauer's in the original, but is respectable nonetheless.
The standout performance of the film goes to Neal McDonough as Lieutenant Esteridge, a hardworking but understanding police officer. Though the soundtrack is fairly predictable but effective, Nine Inch Nails' "Closer" playing loudly during a chase scene captures the urgency and brutality well, and other songs follow suit - capturing feeling and lacking originality, much like the film.
Rated R for profanity and graphic violence, "The Hitcher" is not for the squeamish. There is plenty of blood and gore, but at least no cheesy CGI special effects. "The Hitcher" is definitely not worth the cost of an evening showing at the movie theatre. However, especially for those who have not seen the original, it might be worth a matinee.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
This week's movie review -- 'Black Snake Moan'
"Black Snake Moan" slithers into your head and the characters curl around your heart in a film that combines fantastic acting and a powerful story of caring. Writer and director Craig Brewer delivers the tale of Rae (Christina Ricci), a neurotic nymphomaniac and Lazarus (Samuel L. Jackson), a retired bluesman turned farmer who is unlucky enough to feel inclined to tame her.
After Rae's boyfriend (played by Justin Timberlake, whose terrible acting doesn't ruin the film because he's in very little of it) gets shipped off to military training, she just can't help but begin having sex with other men. After a night of wild partying that ends badly, Rae is dumped half-naked by the side of the road - bruised, beaten and ill. Lazarus finds her and decides what she needs is some old-fashioned patience, rest and understanding.
Believing divine intervention led her to his path, Lazarus is determined to save Rae from herself - even once that means chaining her to the radiator to keep her from running off to get her much-needed fix. Lazarus confronts his own demons, as he was just left by his wife. He also tries to teach Rae how to respect herself. The chemistry between Jackson and Ricci is amazing. It's clear Lazarus wants to save Rae from her lust-driven ways just as much as she doesn't believe she'll ever be able to harness her urges. Ricci is sexy, dirty and primal in this film - and yet her character remains sympathetic.
The movie also focuses on racial issues. Lazarus is concerned about reporting the situation because of racial implications. "I've been toe to toe with the law just for being black and nearby," he says - capturing the look and sound of the Deep South. Lazarus becomes inclined to dig out his old guitar in an attempt to soothe the beast within Rae. Jackson belts out soulful blues like he's been doing it all his life. The song "Black Snake Moan," set against a nighttime thunderstorm, is nothing less than chilling.
With the exception of Timberlake's character, all of the characters seem very real and are easy to feel for. S. Epatha Merkerson plays a kind-hearted pharmacist with an eye on Lazarus and John Cothran Jr. is terrific as the Reverend. "Black Snake Moan" is filled with profanity and overt (sometimes violent) sex scenes. This is not a movie for children and young teens - who probably wouldn't really get it anyway, so they aren't missing anything - but carries more positive message than offensiveness for mature viewers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
After Rae's boyfriend (played by Justin Timberlake, whose terrible acting doesn't ruin the film because he's in very little of it) gets shipped off to military training, she just can't help but begin having sex with other men. After a night of wild partying that ends badly, Rae is dumped half-naked by the side of the road - bruised, beaten and ill. Lazarus finds her and decides what she needs is some old-fashioned patience, rest and understanding.
Believing divine intervention led her to his path, Lazarus is determined to save Rae from herself - even once that means chaining her to the radiator to keep her from running off to get her much-needed fix. Lazarus confronts his own demons, as he was just left by his wife. He also tries to teach Rae how to respect herself. The chemistry between Jackson and Ricci is amazing. It's clear Lazarus wants to save Rae from her lust-driven ways just as much as she doesn't believe she'll ever be able to harness her urges. Ricci is sexy, dirty and primal in this film - and yet her character remains sympathetic.
The movie also focuses on racial issues. Lazarus is concerned about reporting the situation because of racial implications. "I've been toe to toe with the law just for being black and nearby," he says - capturing the look and sound of the Deep South. Lazarus becomes inclined to dig out his old guitar in an attempt to soothe the beast within Rae. Jackson belts out soulful blues like he's been doing it all his life. The song "Black Snake Moan," set against a nighttime thunderstorm, is nothing less than chilling.
With the exception of Timberlake's character, all of the characters seem very real and are easy to feel for. S. Epatha Merkerson plays a kind-hearted pharmacist with an eye on Lazarus and John Cothran Jr. is terrific as the Reverend. "Black Snake Moan" is filled with profanity and overt (sometimes violent) sex scenes. This is not a movie for children and young teens - who probably wouldn't really get it anyway, so they aren't missing anything - but carries more positive message than offensiveness for mature viewers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
'23' adds up to failure
"The Number 23" has the premise of a great film - too bad it suffers and dies from bad acting.
Screenwriter Fernley Phillips crafts a masterful tale of intrigue and suspense. Jim Carrey plays Walter Sparrow, a mild-mannered dogcatcher. His luck changes for the worse after being bit by a dog on his birthday, which makes him late for his evening plans. On that night, his wife, Agatha (Virginia Madsen), buys him a book called "The Number 23." As Walter reads - and fixates on - the book, we watch through his eyes as the narrator, Fingerling (in a duel role by Carrey), enjoys the company of a kinky woman named Fabrizia (in a duel role by Madsen) and learns of the curse associated with the number 23 from a sexy young woman referred to as the Suicide Blond (Lynn Collins).
Cinematographer Matthew Libatique's work is extraordinary. The tale within the tale unfolds in a noir-soaked sequence showcasing Libatique's genius, along with that of director Joel Schumacher. Schumacher is outstanding in blending reality and imagination in what could have been the best suspense thriller of the year, had Carrey been capable of portraying a frightening character. He pulled off a serious role in "Eternal Sunshine of the Spotless Mind," but serious and subdued may be far enough away from his usual for him to succeed by maintaining total opposition to his usual actor-self. In "The Number 23," his exaggerated facial expressions, meant to convey mental distress, cross the border into comical too many times. Madsen has the opposite problem - she has so little affect that it's hard to believe his kind, caring wife is disturbed at all by Walter's obsession.
There may be a real fixation with 23 among conspiracy theorists, but I was so disappointed in the acting that I left the film sans inspiration to brood over the math connecting the Oklahoma City bombing, Hiroshima and the September 11, 2001 attacks to the number's supposed curse I enjoyed the surprising ending but it wasn't worth watching 95 minutes of poor acting. "The Number 23" certainly isn't worthy of seeing in the theatre, but might be worth a two or three dollar rental for the cinematography alone.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
Screenwriter Fernley Phillips crafts a masterful tale of intrigue and suspense. Jim Carrey plays Walter Sparrow, a mild-mannered dogcatcher. His luck changes for the worse after being bit by a dog on his birthday, which makes him late for his evening plans. On that night, his wife, Agatha (Virginia Madsen), buys him a book called "The Number 23." As Walter reads - and fixates on - the book, we watch through his eyes as the narrator, Fingerling (in a duel role by Carrey), enjoys the company of a kinky woman named Fabrizia (in a duel role by Madsen) and learns of the curse associated with the number 23 from a sexy young woman referred to as the Suicide Blond (Lynn Collins).
Cinematographer Matthew Libatique's work is extraordinary. The tale within the tale unfolds in a noir-soaked sequence showcasing Libatique's genius, along with that of director Joel Schumacher. Schumacher is outstanding in blending reality and imagination in what could have been the best suspense thriller of the year, had Carrey been capable of portraying a frightening character. He pulled off a serious role in "Eternal Sunshine of the Spotless Mind," but serious and subdued may be far enough away from his usual for him to succeed by maintaining total opposition to his usual actor-self. In "The Number 23," his exaggerated facial expressions, meant to convey mental distress, cross the border into comical too many times. Madsen has the opposite problem - she has so little affect that it's hard to believe his kind, caring wife is disturbed at all by Walter's obsession.
There may be a real fixation with 23 among conspiracy theorists, but I was so disappointed in the acting that I left the film sans inspiration to brood over the math connecting the Oklahoma City bombing, Hiroshima and the September 11, 2001 attacks to the number's supposed curse I enjoyed the surprising ending but it wasn't worth watching 95 minutes of poor acting. "The Number 23" certainly isn't worthy of seeing in the theatre, but might be worth a two or three dollar rental for the cinematography alone.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
This week's DVD review -- Return of the Living Dead: Rave to the Grave
And the worst DVD release of 2007 is director Ellory Elkayem's "Return of the Living Dead: Rave to the Grave." It may only be April, but it's not too early to say nothing could beat this terrible trifecta of cheesy dialogue, over-the-top stupidity and bad acting to ruin anyone's appetite for film like the fifth installment in the "Return of the Living Dead" series.
The original "Return of the Living Dead" (1985) was deliciously sarcastic, dripping with gore, and crammed full of new, brain-chewing talking zombies. Even "Return of the Living Dead III" (1993) brought us further innovation - a "Romeo and Juliet" style romance between a young man and his recently deceased (and reanimated) girlfriend.
But apparently the series has run out of steam - though, apparently, not zombie-producing Trioxin.
"Return of the Living Dead: Necropolis" (part 4) premiered on the Sci-Fi channel at the same time as "Rave to the Grave" in 2005, and was released to DVD a year earlier. I thought since the films were made so close together, the one failing they would not suffer is continuity - but I was wrong.
"Return of the Living Dead: Rave to the Grave" opens to find Becky (Aimee-Lynn Chadwick), Julian (John Keefe) and Cody (Cory Hardrict) away at college, seemingly oblivious to their near-death (and undeath) experiences the previous year in "Necropolis."
Instead, the only mention of any previous problems are unspecific mentions of government connections to Julian's uncle's recent murder and the mysterious canisters - of (what else could it be but) Trioxin - in his family's attic.
Julian drags the canister into a campus science lab for Cody to analyze in the middle of the night. Instead, Cody uses it to produce "Z" - a party drug that produces hallucinations so powerful that "you just stand there, like a zombie" - for an upcoming Halloween rave.
DJ Jeremy (Cain Manoli) and drug-dealer Skeet (Catalin Paraschiv) begin selling the green capsules around campus, assuring that what Jeremy touts as the "rave to the grave" certainly will be (or, more aptly, the "rave ending in a brain-chewing frenzy").
Whether it was a failed joke or the result of someone letting an elementary school student help with the plot, the worst moment of "Rave to the Grave" was a decayed, Trioxin-dripping zombie attempting to hitchhike in broad daylight and no one noticing (or, at least, reacting) to its presence.
I can think of few fates worse than becoming a brain-craving zombie - having to watch "Rave to the Grave" is one of them.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
"The Lookout" demands notice, despite flaws
"The Lookout" succeeds on the surface - it's a thriller actually delivering clever character-driven interaction. Unfortunately, the devil's in the details - and that's where this film leaves something to be desired.
"I wake up. I take a shower … with soap. I look outside to see what to wear." This is what Chris Pratt's (Joseph Gordon-Levitt) life has been reduced to four years after a prom night car wreck ruined his hockey-playing ability and, more importantly, his promising future.
In his post-head-injury life, he shares an apartment with seasoned and savvy Lewis (the delightfully adept Jeff Daniels), a sarcastic blind man who tries to protect Chris from a world he has more than a little trouble grasping. Chris can't remember to turn off a light without reading a note that reminds him to, functions by following a strict regimen of repetition, and offends most strangers by blurting out every thought in his head.
However, Chris has found successful - if unrewarding - employment as a night janitor in a small bank. After long nights at his lonely, thankless job, Chris stops in for a (non-alcoholic) drink at a local bar - which is where, one unfortunate night, he's sought out by shady former classmate Gary (Matthew Goode, dripping with sleaziness), who sees a chance to cash in Chris' mental disability.
Gary lures Chris into his criminal crowd with the promise of friendships, fun, and the sexual attention of Luvlee Lemons (Isla Fisher) - a stripper-turned-secretary. But it doesn't take long for Gary to reveal his plan - he intends to rob the bank Chris works at, and he expects Chris to help.
Writer-director Scott Frank keeps us far enough from "Memento" to feel the newness of this film - and Gordon-Levitt, who has grown up a lot since his days on "3rd Rock From the Sun," manages to show us a boiling pot of teenage rebellion mixed with innocence and never err on the side of predictable.
But I have to ask - if Chris can't tell his garlic press from a can opener, how is he capable of driving a car? If Chris can barely remember to lock his apartment door, how can he be trusted to work nights alone at a bank? And if Chris knows alcohol is bad for his broken brain (and because of this, never imbibes), why does he allow Gary to ply him with liquor at a house party?
Rated R for language, some violence, and sexual content "The Lookout" achieves intensity that almost makes it a magnificent film. If you can keep from analyzing the film too much and just enjoy the ride, "The Lookout" provides suspense, drama, and several excellent performances.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
'Disturbia' is no classic, but no failure either
Director D. J. Caruso's "Disturbia" is one of those films I wanted to hate - but I couldn't.
Screenwriters Christopher Landon and Carl Ellsworth have taken the premise of Alfred Hitchcock's suspense-filled classic "Rear Window" (1954) and updated it for a teenage, technology-obsessed audience. What "Disturbia" lacks in depth, it surprisingly nearly makes up for with fantastic timing and truly gripping suspense.
Kale (Shia LaBeouf) has been getting into trouble for the past year, ever since his father passed away in a nasty car wreck. When Kale goes too far and punches his Spanish teacher (Rene Rivera), he is sentenced to house arrest - complete with an ankle monitor - for summer vacation.
This doesn't seem too daunting until his mother (Carrie-Anne Moss) cuts off access to his X-Box live and iTunes, as well as the cable in his bedroom. Without these distractions, he becomes horribly bored - shown in a sequence backed by the appropriately placed System of a Down's "Lonely Day" - and tries to find some form of entertainment.
So, he looks out the window and his new hobby is born. He watches his new neighbors - especially their sexy teenage daughter, Ashley (Sarah Roemer). He also spies on a group of unruly pre-teens and Mr. Turner (David Morse), who oozes creepy vibes as he compulsively mows his lawn.
Whether due to cabin fever or a nose for detective work, Kale theorizes that Mr. Turner's car looks a bit like one that had been seen in connection with a local disappearance. Suddenly, house arrest is more like a game of "stake-out," in which his buddy Ronnie (Aaron Yoo) and Ashley - who, after realizing Kale was watching her, seems unrealistically comfortable with his voyeurism - sit around Kale's room and use surveillance equipment (supposedly, courtesy of some quirky relative of Ronnie's) to spy on Mr. Turner.
No one could accuse the characters in "Disturbia" of being multi-layered, but that doesn't make them boring. And with such shallow characters, the acting can't be bad. Moss' mom-on-her-last nerve and Morse's creepy-loner are the film's best performances.
Rated PG-13 for sequences of terror and violence, and some sensuality, "Disturbia" will do best as a date movie for teens, but it's certainly rent-worthy on merit of suspense alone.
Those who haven't seen "Rear Window" will probably enjoy "Disturbia" more without the comparisons - but since it borrows the concept without trying to remake the film, "Disturbia" manages to be much better than it should be.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
British screenwriters hit a home run with 'Hot Fuzz'
What writers' Edgar Wright and Simon Pegg "Shaun of the Dead" (2004) did for horror films, "Hot Fuzz" does for action movies.
Outrageously funny and jam-packed with excitement, "Hot Fuzz" is much less a parody of action films and far more an homage.
Nicholas Angel (Pegg) is a good cop with one major flaw - the inability to stop working. Promoted by the London Police to Sergeant and transferred to Sandford (the safest place in England, and consistent winner of Village of the Year) so he'll stop making his squad look bad with his remarkable arrest record, Angel is beyond disappointed with his relocation.
While staying in Sandford's quaint hotel - reminiscent of something out of John Carpenter's "In the Mouth of Madness" (1995) - Angel quickly finds everyone knows everyone in a village that seems perfect.
After arresting a would-be drunk driver his first night in town, Angel is horrified to learn the man is not only his new partner, Police Constable Danny Butterman (Nick Frost), but the son of Chief Inspector Butterman (Jim Broadbent).
Things quickly go from bad to worse for Angel when he realizes some of the local accidents (of which there are many) may actually be murder, a theory outright mocked by the other officers and the community at large.
And the community at large is rather unique. Angel works with two useless detectives - both called Andrew (Paddy Considine and Rafe Spall) - as well as the village's only police woman, Doris (Olivia Colman), who claims to have been "around the station a couple times."
Local pub owners, the Coopers (Eric Mason and Billie Whitelaw) obsess over an error in the newspaper listing Mrs. Cooper as two years older than her age. Spelling-impaired newsman Timothy Messenger (Adam Buxton) is more interested in fluff pieces than investigative reporting. The neighborhood grocer, Simon Skinner (former James Bond, Timothy Dalton), is a "slaughter of prices" as well as a theatre snob. And everyone worries when a local swan escapes.
"Hot Fuzz" is buddy film, an action movie, and an uproarious comedy rollercoaster that unrolls one twist after another.
Rated R for violent content including some graphic images, and language, "Hot Fuzz" is a clever and exhilarating all-round good time for the grown-ups.
Published in The Chronicle in April 2007 as Jade Lee Culberson
Sequels, prequels, remakes, oh my!
I have a theory about major movie studios. Here's what I think happens: two filmmakers walk into an executive's office to propose an idea for a film. One says, "I want to make a movie unlike anything American audiences have ever seen. It'll be clever, interesting and cerebral - and it'll focus on a character people will talk about for years to come." The other says, "I want to take this movie that was released two years ago and make a sequel. I've figured out how to make it more violent than the original. The plot may not make as much sense as the first one did, but it'll be shocking. It'll also draw in audiences on name recognition alone." The executive considers both ideas briefly - and green-lights only the latter.
I'll grant that sometimes a sequel - or a series - is a good thing. "Star Wars" is a great example of this. But lately it seems there are as many sequels, prequels and remakes hitting theatres as there are original films. "Resident Evil: Extinction" (the third in the series) is in theatres now, "Saw IV" will reach the big screen on Oct. 26 and "National Treasure: Book of Secrets" comes out just in time for the holidays. While I'll save my judgment on the last two until they come out, I can certainly say "Resident Evil: Extinction" was a film that suffered the plot degeneration from the original (and even the sequel).
I'm disturbed to know that though "Shrek the Third" has yet to reach DVD, there's already talk of "Shrek 4" (rumored to be titled "The Next Shrek") slated for release in 2010. Though I haven't heard anything substantial as of yet, I won't be surprised when they announce "28 Months Later" or "Saw V" - I'll just be disappointed.
Still, perhaps the sequels are better than remakes. After Rob Zombie's "Halloween" fell apart before the halfway point, I've lost hope that even the best directors can do better than what is already done well in previous films. And with remakes on the way for "Day of the Dead," "Footloose" (as a musical, apparently) and Hitchcock's "The Birds," I can see this trend isn't going away fast enough.
Originally published in The Chronicle on October 21, 2007
I'll grant that sometimes a sequel - or a series - is a good thing. "Star Wars" is a great example of this. But lately it seems there are as many sequels, prequels and remakes hitting theatres as there are original films. "Resident Evil: Extinction" (the third in the series) is in theatres now, "Saw IV" will reach the big screen on Oct. 26 and "National Treasure: Book of Secrets" comes out just in time for the holidays. While I'll save my judgment on the last two until they come out, I can certainly say "Resident Evil: Extinction" was a film that suffered the plot degeneration from the original (and even the sequel).
I'm disturbed to know that though "Shrek the Third" has yet to reach DVD, there's already talk of "Shrek 4" (rumored to be titled "The Next Shrek") slated for release in 2010. Though I haven't heard anything substantial as of yet, I won't be surprised when they announce "28 Months Later" or "Saw V" - I'll just be disappointed.
Still, perhaps the sequels are better than remakes. After Rob Zombie's "Halloween" fell apart before the halfway point, I've lost hope that even the best directors can do better than what is already done well in previous films. And with remakes on the way for "Day of the Dead," "Footloose" (as a musical, apparently) and Hitchcock's "The Birds," I can see this trend isn't going away fast enough.
Originally published in The Chronicle on October 21, 2007
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